Posts tagged with "Exhibitions":

CONSTRUCT - AEC Education & Expo

CONSTRUCT is an AEC educational program and exhibition that has the goal of bringing together the different disciplines within the construction industry to help improve the future of the built environment. Breaking down the barriers between the different players within the construction process allows for a more collaborative work environment. CONSTRUCT is the place to share the latest in standards and best practices, industry trends, and emerging technologies. Join Construction Architects, Designers, Specifiers, Engineers, Project Managers, Contractors, Construction Managers, Estimators, Owners, Product Representatives, and Manufacturers for cutting-edge, solutions-driven learning opportunities.
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Storefront's Ministry for All breaks down Brasilia's socio-political infrastructure

Brasilia, the midcentury planning marvel designed by Oscar Niemeyer along Lucio Costa's master plan, boasts monumental civic structures that have long provided a sense of stoicism as the face of Brazil's capital. But what goes on inside those government buildings—like many others around the world—changes from one administration to another, influencing the near future of a country seemingly in constant unrest.  Since Brasilia’s buildings can’t be stripped apart to reveal their inner workings, architect Carla Juaçaba and artist Marcelo Cidade will expose the physical infrastructure of the Storefront for Art and Architecture as a commentary on the social and political foundations of the built environment. This site-specific exhibition, Ministry for All, breaks down Niemeyer’s utopian vision for Brasilia by removing the concrete panels of the SoHo space’s iconic facade and bringing them inside. 
 
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Opening this Saturday, September 21, the showcase won’t look like a typical, polished art installation at Storefront. Instead, construction materials such as insulation foam and plywood boards will line the exterior, while the concrete panels will be rearranged to make new forms within the gallery’s interior. According to Juaçaba and Cidade, “this layered installation extrudes the facade inward and allows visitors to walk through it, providing a different reading of its panels now that they are no longer forming their intended function.”  Juaçaba and Cidade’s interventions will serve as a reminder that spaces are often used differently than they were intended for when originally built, solely because their users vary widely and change over time. It’s both a conceptual and poetic critique, according to the curators, on the resilience of architecture and will force the viewer to think deeper on how societies around the world can ultimately build systems that do work for all.  Ministry for All will be on view through December 14 and is the second exhibition in Storefront’s year-long program, Building Cycles, which explores the differences between building as a place and as a process. 
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Burglars steal Maurizio Cattelan’s golden America toilet

In a pastoral part of central England known for its stately homes and greenery, burglars made off this week with a valuable, if fairly unusual, piece of art. The theft took place around 4:50 a.m. at Blenheim Palace, a monumental country house in Oxfordshire, just northwest of London. The target of the crime? America, a 2016 sculpture of a fully-functional toilet crafted in 18-carat gold by the Italian artist Maurizio Cattelan.

The toilet, which was previously housed in an upper-level lavatory at the Solomon R. Guggenheim Museum in New York, had been installed in one of Blenheim’s wood-paneled restrooms as part of an exhibition of Cattelan’s work. It was connected to the estate’s plumbing system, enabling visitors to actually use it—rare moments of intimacy with an object valued at well over one million dollars. According to the Sunday Times, overnight security was relaxed because Edward Spencer-Churchill, the display’s organizer, did not consider the toilet a prime target for burglars. As he told reporters when the piece was installed in August, “It’s not going to be the easiest thing to nick…Firstly, it’s plumbed in and secondly, a potential thief will have no idea who last used the toilet or what they ate.” Neither factor seemed an adequate deterrent for the thieves last week.

The crime caused significant damage to the palace beyond the loss of the art itself, as from photos, it appears the thieves simply ripped the fixture from the wall and left. The ruptured piping spawned a minor flood and one of the doors to the room was completely destroyed. While the display is now cordoned off, the toilet has yet to be recovered, prompting concerns that it may have been melted down. Authorities claim that a group of offenders used two vehicles to carry out the burglary but have only arrested one 66-year-old man in connection with the crime.

Cattelan himself highlighted the irony of the incident, pointing out that he created America to give ordinary people direct access to an extraordinary object. As he told The New York Times this weekend, “America was the one percent for the 99 percent, and I hope it still is. I want to be positive and think the robbery is a kind of Robin Hood-inspired action. I wish it was a prank.”

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Here's what to catch at this year's London Design Festival

It's September, which in the U.K. means it's time for the London Design Festival (LDF). Now in its 17th year, there is once again a feast of shows, talks, walks, exhibitions, and installations to gorge upon. The Architect's Newspaper has surveyed what's on view firsthand and rounded up what to catch this year. Sea Things, Sam Jacob Studio As always, the LDF is heavily connected to the Victoria & Albert Museum (V&A). At the museum's entrance, visitors can find a 13-foot-on-each-side glass cube hanging from the ceiling. Stand underneath it and look up, and you will find pieces of plastic floating by as if being carried by a current through space. It's only a film, but the mirrored edges of the cube create the impression of it being limitless through a simple, yet effective, trick. Titled Sea Things, the work from Sam Jacob Studio aims to raise awareness of plastic in our oceans. "The V&A is full of things and our relationship to things," Jacob told AN, who cited a hand-drawn pattern of sea creatures by the Eames's (in the V&A collection) as part of his inspiration. That pattern was drawn at a time when there was tangible hope of saving our oceans from pollution. Jacob's installation omits such optimism: by 2050, if current pollution levels remain on track, the world's oceans will be 50 percent plastic and 50 percent marine life, the end of his studio's film predicts. Black Masking Culture, Big Chief Demond Melancon with Assemble A surprise hit at the V&A comes from the New Orleans-based artist and educator, Big Chief Demond Melancon of the Young Seminole Hunters. Working with London studio Assemble, two of Melancon's giant, full-body Mardi Gras Indian suits (I can't imagine how hot they must get) have been installed. The suits have been hand-sewn; fitting then, that they have been placed in the V&A's Tapestries Gallery. They are truly a sight to behold: joyously flamboyant, bursting with life, ornate and infinitely intricate, they are works of art in their own right. A fascinating film tracing the making of the suits in the run-up to Mardi Gras accompanies the suits and it's well worth a watch. More LDF at the V&A Many other installations part of LDF can be found at the V&A too. Hans Ulrich Obrist has designed a wooden postbox, for example, and Korean artist Do Ho Suh has had his forensic video survey of Robin Hood Gardens displayed via a 100-foot-wide projection. For Smithson buffs, the model of the ill-fated housing estate made for the 1970 film, The Smithsons on Housingis also on display. Paddington Pyramid, Adam Nathaniel Furman Beyond the V&A more color abounds, as LDF has always featured in recent years. Welcome returners to the fray Adam Nathaniel Furman and Camille Walala have once again done a marvelous job sprucing up the vicinities they've occupied. In Paddington, Furman has erected a fluttering pyramid next to where he was born, drawing on the towering, ephemeral structures that populate fairs and festivals. Walala Lound, Camille Walala Furman's 2017 project, Gateways, was supposedly the most photographed LDF installation ever, however, this year, Camille Walala appears to be giving him a run for his money. Wander down South Molton Street just a stone's throw away and you'll find a host of street furniture: planters, benches, and bunting all emphatically stamped with Walala's hallmark, vibrant geometric style, all being snapped and papped by hashtag-happy passersby. Please Be Seated, Paul Cocksedge There are more moments to sit at this year's LDF, too. London designer Paul Cocksedge has designed an undulating trio of concentric timber circles in Broadgate, East London. Aptly named Please Be Seated, the work reuses scaffolding planks to create a sculpture that acts as both a pedestrian thoroughfare and place of rest. "There's a motorway of people [around here]," Cocksedge told AN. "I looked at where people were going to and from, the arches are oriented in the general direction of that flow, so it works for everyone." So far, Please Be Seated has been an instant success, with LDF-ers and bankers working nearby making the most of it. "It's nice to see people using something in the way that it's meant to," added Cocksedge. Life Labyrinth, PATTERNITY Sticking to the same theme, Life Labyrinth, riffs on Daniel Buren's Les Deux Plateaux (The Two Levels) in Paris. London studio PATTERNITY's black-and white seating arrangement, mini-maze, and garden is a welcome addition to the entrance of Westminster Cathedral where visitors can rest and children can play with the garden bells and labyrinth itself. Buren's work has been a hit since 1986 and, while being somewhat paired down, Life Labyrinth looks to emulate that success, if only for a week. Day of Design  22 September, 11 a.m. – 5 p.m. To mark the end of LDF 2019 there will be a "Day of Design" along Exhibition Road. Closed off to cars for the day, the V&A, alongside the Natural History Museum, Science Museum, Imperial College, and the Royal College of Art will fill the street with installations and events centered around solutions to climate change. Don't miss out on the Plastic Pavilion from London designer Seyi Adelekun. The parametric structure is comprised of string, steel mesh and 1,600 plastic bottles—some of which, according to Adelekun, were collected by "raiding neighbors bins." Adelekun told AN she hopes to raise awareness about single-use plastics and how to use them in construction.
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The HKIA brings Hong Kong architecture to L.A. in Island__Peninsula

An upcoming exhibition will bring together two vastly different cities on opposite sides of the same ocean. Organized by the Hong Kong Institute of Architects (HKIA), Island__Peninsula is a 14-day public exhibition which aims to compare the contrasting urban landscapes of both Los Angeles and its Chinese counterpart while illustrating what they believe to be a unique “Hong Kong style”.  Sixteen exhibits have bene organized under four themes that encompass the architecture of Hong Kong: glamor, efficiency, orderliness, and constant change. The exhibits will be displayed in the form of “islands”, a concept inspired by a 1975 novel, Island and Peninsula, by Liu Yichang which explores fragments of daily life in the Chinese city composed of 263 islands.  Accordingly, Island__Peninsula will offer a range of both built and conceptual work at various scales from individual homes, high-density towers, streetscapes, and community facilities. Works on view will include a theater emphasizing the traditional Chinese craft of bamboo scaffolding, speculations on transit-oriented developments, and how a university project adapts to the undulating hillside terrain of the city.  Under the “Land of Efficiency” theme, one exhibitor opened a dialogue between the two cities through a project called “Case Study Tower”. Employing the symbolism of Art & Architecture’s Case Study Houses, Chiu Ning and Lau Wai Kin multiplied and composed imagery and drawings of the homes to visualize a fictional tower typical of Hong Kong’s residences.  In concurrence with the exhibition, an interactive installation titled “Skyline Cello” will be on view at Hysan Place in Hong Kong. The artist, Keith Lam, “uses the skyline of Hong Kong and Los Angeles as musical score”, encouraging visitors to create their own "music of the city."  Island__Peninsula was co-curated by Chang Hoi Wood and So Kwok Kin and will run from September 19 through October 2 at the Westfield Oasis Space at Westfield Century City, Los Angeles. 
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Must-see exhibitions this September

At a loss for all the architecture and design shows on view this fall? AN has rounded up a quick list of must-see exhibitions this month from New York to Chicago, London, and Switzerland. Check them out below and head to one near you: What is radical today? 40 positions on architecture Royal Academy of Arts Burlington House, Piccadilly, Mayfair, London W1J 0BD, U.K. September 6 through November 7, 2019 Spanning the decades between the social uprisings of the 1960s to the present, this free display of boundary-pushing architectural work at the Royal Academy in London brings together 40 architects and collectives, then and now, in a powerful exhibition. The show comments on how architecture can alter lives in times of upheaval and turbulence—as pressures of climate change, violence and complicity continue to permeate the individual existence in society. From groundbreaking 20th-century groups like Archigram to contemporary practitioners like Francis Kéré, the proposed spaces surpass any assumptions of ageism and leave echoes of optimism to face the times. Ragnar Kjartansson: The Visitors  The Museum of Fine Arts, Houston 1001 Bissonnet, Houston, Texas 77005 July 20 through September 22, 2019 On the heels of the Finnish artist’s acceptance of the 2019 Ars Fennica Prize, Kjartansson’s immersive video exhibition The Visitors has landed at the Museum of Fine Arts, Houston. The nine-screen video installation is spread throughout several galleries, with each screen centering on an individual musician playing for the camera in a room of the Astor family’s Rokeby Farm House in Hudson, New York. The house, built in 1815, is a fitting backdrop for the artists’ admiration for nostalgia and romanticism in his works and adds a drama and grandeur to the audio and visual experience.  Filmed in one take, the musicians all play individual portions of the same song, but in disparate rooms where they are unable to hear one another. As a viewer in the MFA Houston, one becomes a ‘visitor’ to the house, a witness to a performance that occurs, in totality, only for them.  Chairs Beyond Right & Wrong R & Company 64 White Street New York NY 10013 September 10 through October 19, 2019 This September, both floors of R & Company’s White Street gallery will be encompassed by a retrospective of the chair: a formal object, a consumer product, a springboard for creativity. The assumptions that accompany our idea of what a chair is, or what it can be, are challenged by a group of 50 international artists and designers.  Some of the objects in the show have been created specifically for this exhibition while some were chosen by curator Raquel Cayre for their unique ability to move away from preexisting notions of function and form. “Chairs no longer gravitate toward a table;” said Cayre, “they take on their own meaning.” Alan Karchmer: The Architect’s Photographer The National Building Museum 401 F Street NW Washington, D.C 20001 Opening November 9, 2019 Buildings, like art, are mostly experienced today via their photographs and digital media, as location inhibits in-person interaction for most. The way a photographer captures a building, its angles and elevations, therefore has a profound effect on how the building is seen by the world—and often if it’s seen at all. Sometimes certain images of a building can even become icons in themselves, and people begin to conceptualize of a space in the way the photograph they’ve seen suggests, often surprising visitors when and if they see it in person.  Alan Karchmer has made a name for himself for his ability to capture the essence of a building, the way the architect intended. Working the full spectrum of architectural styles, from soaring works by Calatrava to the quietudes of Tadao Ando, this mid-career exhibition shows us how an artist’s eye can enhance our experience of some of the world’s best spaces. Christian Marclay: 48 War Movies and Screams Paula Cooper Gallery  524 W. 26th Street, New York NY 10001 September 12 through October 19, 2019 Renowned video artist Christian Marclay brings his newest film, 48 War Movies, to America following its debut at the Venice Biennale. On display at Paula Cooper Gallery, the video is a collage of gruesome war footage from the Civil War to Iraq, a cacophony of violence and sound that, when installed at the Biennale, literally bled into adjoining rooms.  The narratives are presented simultaneously through the lens of concentric rectangles on screen. The unflinching presentation of this raw violence sheds new light on how society conventionally handles trauma: the pasted-on smile, the cool facade. Marclay instead offers a continuous scream, an externalization of emotion, and a way of facing our history rather than hiding from it.  All That Is Solid  Chicago Pedway (Chicago Architecture Biennial) August 28 through October 11, 2019 This site-specific intervention by architect and professor Ang Li encourages passersby to reflect on the afterlives of materials. Cubes of expanded polystyrene foam (EPS) that were cleaned and diverted from landfill stand sculpturally arranged, like windows with our everyday disposable food containers pressed up to the panes.  This artificial and hyper-modern material is the tool of choice for the exhibition, as it encourages pedestrians to engage in a series of building experiments. Inspired by industrial inventory-taking practices, the installation offers a reflection on our culture of single-use disposables as well as a more sustainable future.  The Art of Waiting: Gianni Berengo Gardin Photographs Renzo Piano The Italian Cultural Institute New York 686 Park Avenue New York, NY September 10 through October 10, 2019 Italian artist Gianni Berengo Gardin is not an architectural photographer, but his 20-year collaborative effort with renowned architect Renzo Piano has resulted in over 10,000 images that document the progress and process of Piano’s best buildings. Working in a signature slow style, often observing a construction site from morning until night, the collection that has resulted is one that shows the life and building blocks of Renzo’s forms, rather than the limelight of the finished product.  “Gardin has always managed to see and preserve these magical moments that vanish if you don’t capture them,” said Piano. Photographs included in this exhibition have been selected by Gardin himself, a narrative of building evolutions rarely seen by the public.  Topiary Tango  Center for Architecture 536 LaGuardia Place, New York, NY 10012 July 11 through September 14, 2019 In rooms filled with live plants and carpets of green, Stewardson Keefe LeBrun Travel Grant recipient Mark Zlotsky curates a show around the art of sculptural plant trimming, also known as topiary. Inspired by travels through the great gardens of western Europe, Topiary Tango explores the relationship between topiary and architecture, and how the plantings can be seen not as pithy ornamentation, but as a building material.  In this playful yet academically rigorous installation, Zlotsky proposes an architecture that responds to ever-changing contexts and offers a creative solution to enlivening static structures.  Swissness Applied Kunsthaus Glarus Güterschuppen Im Volksgarten, 8750 Glarus, Switzerland September 21 through November 10, 2019 Cofounder of Architecture Office Nicole McIntosh takes cues from her home country of Switzerland in her traveling exhibition Swissness Applied. An examination of the architectural codification of European immigrant town New Glarus, Wisconsin, McIntosh shows drawings and models of the quintessentially “Swiss” styles of architecture that the town grew from, and eventually exploited for touristic gain when facing economic depression in the 50s. Now a thriving tourist attraction, New Glarus instituted rules regarding architectural building in the 90s to maintain its unique aesthetic and appeal, but McIntosh proposes new opportunities within the building code to connect modern forms to their integral “Swissness.” Her playful models will be exhibited in celebration of the reopening of the Kunsthaus.
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Seattle Architecture Foundation will open 22nd Annual Architectural Model Exhibit

The Seattle Architecture Foundation is set to open Symbiosis, the 22nd edition of its Annual Architectural Model Exhibit next month. Curated in the foundation’s on-site gallery, Symbiosis will bring together the work of 25 local architects and designers from September 12 through November 23 and will be free to the public. As has been the case for over two decades, participants in the exhibition will have the unique opportunity to connect with visitors through models, drawings, renderings, videos, and accompanying text.

This year, several innovative design practices in the area, including NBBJ, Olson Kundig, Bohlin Cywinski Jackson, Perkins + Will, LMN Architects, and Wittman Estes Architecture + Landscape, have been asked to contribute work based on a central theme. According to the foundation’s website, Symbiosis “celebrates mutually beneficial relationships and the positive products and constructive outcomes of interdependence.” An opening reception with local designers and architects will be held on September 11 and is open to paying members of the public.

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Waterfront exhibits a total history of Brooklyn's coastline

Waterfront Brooklyn Historical Society DUMBO Empire Stores 55 Water St. Brooklyn, NY On view through December 1, 2022 The first major exhibition on the history of Brooklyn’s vast coastline is now on view at the Brooklyn Historical Society’s DUMBO location in Empire Stores. Designed by New York studio Pure+Applied in collaboration with production firms Potion and batwin + robin productions, Waterfront engages visitors through digital interactive storytelling techniques, Kinect technology, archaeological artifacts, and even oysters, to highlight over 100 years of local narratives. The large showcase centers around 12 concept areas that detail the past development of Brooklyn’s shore and speculate on its future in the face of climate change, sea level rise, and gentrification. Both children and adults can uncover the secrets of the borough’s shoreline and the people that worked there. A section dedicated to the factory women workers of the Navy Yard provides a dress-up playspace while a magnetic wall offers visitors the chance to create a personalized waterfront. The multimedia exhibition not only zeroes in on the activists, innovators, neighborhoods, and ecosystems that have made Brooklyn’s waterfront what it is today, but it also unveils the coastline’s significance at a global scale.
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Rejected spotlights denied, trashed, and half-conceived architectural ideas

Rejection; we're all familiar with having our ideas turned down. Now, from August 23 through October 4 at the Banvard Gallery at The Ohio State University's Austin E. Knowlton School of Architecture, curators Team B Architecture & Design have reached out to architects and designers for Rejected, a show that will give rejected work its due. That includes interiors, streetscapes from Denise Scott Brown, cabins, and mediations on what failure and rejected schemes mean in the grand scheme of academia, when traditionally, winning proposals are the ones that are preserved for future generations to study. What's lost when we let winners write the narrative? Rejected, in the same vein as Stanley Tigerman’s 1976 counter-show to 100 Years of Architecture in Chicago, seeks to widen the narrative about what has "worth" in the field. The text that follows was written by the Architect's Newspaper's Executive Editor Matt Shaw for the show, and examines those who voluntarily wrap themselves in the mantle of rejection and what that entails. Rejected can be found at 275 West Woodruff Avenue, Columbus, Ohio, 43210. Graphic design for the show was done by Garrett Corcoran. I like the topic of "rejection." According to urbandictionary.com, a "reject" is "Someone who gets rejected from a group of friends or basiclly [sic] life. For example, someone might say, "Go away you fuckin [sic] reject, you have no friends, we all hate you." This seems like a great starting point for a show.[i]  [Redacted][ii] Rejection seems like an important topic in today's world. A quick search on 2knowmyself.com, generates a series of user-submitted questions, such as "Does rejection mean you are ugly".[iii] A deep reflection on love and self-identity, this seemingly juvenile query seems to be at the heart of your show. What does it mean to be rejected, and to be a reject? Within our hyper-capitalist neoliberal society, technology has played an increased role in how we see ourselves. According to South Korean philosopher Byung-Chul Han in his book Psychopolitics (Verso, 2018), smartphones and social media are commodified to the point where they have tapped into our psyches to exploit us. They accomplish this by creating a system where we exploit ourselves by constantly monitoring our own behavior, checking for likes and affirmation in the virtual sphere. It is like Foucault's panopticon, except even more abstract and sinister, as each of us is our own guard. Rather than a biopolitics—the organization and exploitation of bodies in an industrial world—Han calls this neoliberal technological exploitation psychopolitics, or the exploitation of the psyche. “Instead of forbidding and depriving it works through pleasing and fulfilling. Instead of making people compliant, it seeks to make them dependent.”[iv] If neoliberalism wants us to seek affirmation, then seeking and celebrating rejection must be a healthy alternative. Team B is kind of like the incels of the architecture world. What is an incel? It is an involuntary celibate, a person who cannot have sex, despite wanting to. It is a state of constant and nihilistic rejection, which is referred to as “inceldom.” In dark corners of the internet, the incels have created an online subculture. At its worst, these incels become radicalized and turn to violence, including mass shootings. [Redacted][v]  In the 2014 Isla Vista shootings, gunman Eliot Rodger left a manifesto, which has been regarded as an incel hagiography, and referenced by other mass shooters since. In My Twisted World The Story of Elliot Rodger by Rodger, he says:
Humanity… All of my suffering on this world has been at the hands of humanity, particularly women. It has made me realize just how brutal and twisted humanity is as a species. All I ever wanted was to fit in and live a happy life amongst humanity, but I was cast out and rejected, forced to endure an existence of loneliness and insignificance, all because the females of the human species were incapable of seeing the value in me...My life didn’t start out dark and twisted. I started out as a happy and blissful child, living my life to the fullest in a world I thought was good and pure.[vi]
Rather than a violent band of murderous incels, Team B is more aligned with the original incels, a benevolent and supportive sexless bunch. [Redacted][vii] Ironically, for Rodger, the incel community also did not start out as a twisted, sick group of internet creeps who threaten violence against people who are sexually active, which they call "Chads and Stacys."  [Redacted][viii] The incel group was founded in 1993 by a Canadian student named Alana. "Alana's Involuntary Celibacy Project" was a sincere community for "anybody of any gender who was lonely, had never had sex or who hadn't had a relationship in a long time." Alana eventually abandoned the project and handed it off to another user, but the group slowly devolved into the radicalized, misogynistic group we know today. Rejection at its best becomes a rallying cry for a group or an ideology. Denise Scott Brown, in the Rejected show, describes how the rejection of three Venturi Scott Brown & Associates' projects was a systematic disavowal of the postmodern architecture style.
We feel that renovation of Franklin Court and the planned renovation of the San Diego Museum of Contemporary Art exemplify a rejection not only of design but of a whole style. The renovations of these two landmark designs demonstrates a dismissal of the fun and playful spirit of postmodernism in favor of the minimalistic look of contemporary design.[ix]
Philip Johnson also used rejection as a positive as he needled the Architectural League of New York, which eventually led to the International Style show at MoMA. According to Robert A.M. Stern,
In 1931 he co-curated (with [Alfred E.] Barr and Julian Levy) the independent show Rejected Architects, which created a public furor and paved the way for the International Style exhibit. It featured work by young architects that didn’t meet the requirements of the conservative Architectural League. The show was staged in a rented storefront and Johnson hired a sandwich-board man to parade in front of the League’s offices with the message “See Really Modern Architecture Rejected by the League.” The League was outraged and tried to have the man arrested, but the attendant front-page publicity insured the show’s success and brought modern architecture to the public’s attention for the first time in the United States.[x]
In the Rejected show, there is no stylistic agenda, because architecture today has no singular, dominant ideology. Rather, the exhibition is a performative rejection of the culture of neoliberal psychopolitical acceptance. While some more conventional commercially successful architects actively rejected the invitation to be in the Rejected show, many of the participants proudly flaunt being rejected by the arbiters of institutional taste and the decision-makers of the capitalist development community. Who has the power to accept being a reject? For many of the participants in the show, the academic backdrop allows rejection to be taken as a positive, a wink-and-nod, that it is ok to fail. Outside of the capitalist modes of production, it is a much-needed respite and represents a strong bond between practitioners, if not stylistically, then in a way of operating within a certain lane of the current context. Instead of an architectural act of violence, what we have here is a group therapy session for the happy-go-lucky rejects who take pride in their status as architectural incels. [i] Urban Dictionary. “Reject”. Urbandictonary.com. https://www.urbandictionary.com/define.php?term=reject (accessed August 5, 2019). [ii] This sentence was rejected for being insulting to the curators. [iii] 2knowmyself. “Does rejection mean you are ugly”. 2knowmyself.com. <https://www.2knowmyself.com/does_rejection_mean_you_are_ugly (accessed August 5, 2019). [iv] Byung-Chul Han. Psychopolitics: Neoliberalism and New Technologies of Power. Brooklyn, NY : Verso, 2017 [v] This sentence was rejected for being too offensive in general. [vi] Elliot Rodger. My Twisted World The Story of Elliot Rodger. <https://www.documentcloud.org/documents/1173808-elliot-rodger-manifesto.html> (accessed August 5, 2019). [vii] This sentence was rejected for being too offensive in general. [viii] ibid. [ix] Denise Scott Brown, email message to John Stoughton. July 1, 2019. [x] Robert A.M. Stern. “Philip Cortelyou Johnson (1906-2005).” The Architect’s Newspaper. <https://archpaper.com/2005/02/philip-courtelyou-johnson> (accessed August 5, 2019).  
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Frank Lloyd Wright's Beth Sholom synagogue to be activated with new exhibition

Frank Lloyd Wright’s 1959 Beth Sholom synagogue in Elkins Park, Pennsylvania, is poised for an artistic "activation," as artist David Hartt prepares to debut an exhibition blending sculpture, painting, film, tapestry, plants, and sound to bring a narrative of diaspora to life within the iconic structure.  Opening on September 11 and running through December 19, David Hartt: The Histories (Le Mancenillier) uses Hartt’s various artistic mediums to comment on the shared connection between the stories of both the Jewish and black diasporas. Wright’s synagogue will remain active throughout the show, however, and a challenge for Hartt is to create artwork that will complement, rather than overwhelm, the space and its essential function.  The parenthesized portion of the exhibition title refers to the Manchineel tree, a highly poisonous tree native to the Mediterranean basin, but also the title of a 19th-century piano composition by Louis Moreau Gottschalk. Gottschalk came from a family of mixed German Jewish and Creole descent, and he became known for his melanges of Afro-Caribbean melodies with the classical European tradition. This discovery became a spark of inspiration for Hartt, inciting a trio of works, currently in production by the artist, with the Wright show coming as the first. “I was very interested in the idea of the black and Jewish diasporas as being intertwined,” Hartt told the Art Newspaper, “and I was really interested in the space itself simultaneously hosting two different cultural identities.” The infused nature of the narrative is informed both my Hartt’s professional artistic practice, as well as his professorship in the University of Pennsylvania’s fine arts department. The space will largely be filled with sound, as inspired by the Gottschalk discovery. Acting as an immersive element for viewers of the show, Hartt commissioned new recordings of Gottschalk’s work to accompany the artworks, as well as live performances that feature Jewish, Carribean, and African-American music.  The connections between these two seemingly disparate histories will continue to reveal themselves through Hartt’s other mediums as well. Large monitors will display video taken by the artist on journeys through New Orleans and Haiti, and planters will be filled with tropical plant species, with growth (and ambiance) aided by fuchsia-tinted grow lamps.  The curator of the exhibition, Cole Akers, said that the result is a “convivial atmosphere that audiences will be able to linger in and explore.” Akers, the curator and special projects manager for Philip Johnson’s Glass House, is no stranger to designing within big-name architect’s spaces. “To think about the ways that communities come together and sort of hold each other is a really powerful and poetic statement to make.”
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India’s Subterranean Stepwells rise at the Fowler Museum

India’s Subterranean Stepwells: Photographs by Victoria Lautman University of California, Los Angeles 308 Charles E. Young Drive Los Angeles In a show at UCLA’s Fowler Museum, Chicago-based arts journalist Victoria Lautman explores the hidden beauty of an elaborate building type originating in India: the stepwell. Built throughout the subcontinent’s warm, dry regions for the past 1,500 years, stepwells allowed communities to store water from monsoonal rains. These monumental stormwater management systems were built in both Muslim and Hindu architectural styles and served as sites of worship and gathering. Lautman has visited more than 200 stepwells over the past 30 years in an effort to document their importance and ensure their survival. Organized by Joanna Barrkman, senior curator of Southeast Asian and Pacific arts, the exhibition includes 48 photographs taken by Lautman with a point-and-shoot camera, and is arranged in clusters that focus on specific architectural details. Further images, along with GPS coordinates for each stepwell, are included in Lautman’s 2017 book, The Vanishing Stepwells of India.

Drawing Codes: Experimental Protocols of Architectural Representation, Volume II

Presented by the University of Miami School of Architecture and California College of the Arts / Digital Craft Lab Curated by Andrew Kudless and Adam Marcus Emerging technologies of design and production have opened up new ways to engage with traditional practices of architectural drawing. This exhibition, the second volume in a series organized by the CCA Digital Craft Lab, features experimental drawings by architects who explore the impact of new technologies on the relationship between code and drawing: how rules and constraints inform the ways we document, analyze, represent, and design the built environment.